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In one scene, as Taylor and Davis argue, the dialogue comes down and the score comes up; her voice is literally taken from her. When Davis then physically assaults her, the message is clear: his music and his violence are notches on the same spectrum. This conflation of creativity with destructiveness is a typical error of mainstream biopics about great artists who were not nice people. Yet applied in the context of spousal abuse it is not only specious but ethically dubious, even dangerous.

Living within the United Nations community I've witnessed Australia fall from a well-respected international citizen, to becoming the spoilt, sneaky brat of international relations. Even the most blasé glance at the geo political currents moving through the planet reveal complexities this election pretends don't exist. Australians fighting about jobs and growth in the corner comes across as deeply deluded isolationism. The Great Barrier Reef is dying. The world is watching. Hello Australia? Anybody home?

When my alarm goes off in the morning I reach for my phone: check mail, check ABC, check Twitter. Get up, make filter coffee, pour one. Open my diary and spreadsheet, start working. Pour my second coffee. Eat something, clock calories in. Go for a walk, pick up whatever groceries, clock calories out. Back to work. If whatever I am working on isn't very interesting, this accounting for a day, after day, after day, is fairly sad. But it's also just living a life in 2016.

Dismantling white myths about history is a positive step, a potential pin in an ethnic nationalism which lingers here. Yet these posters pop up often not in bastions of that denial, but rather on walls across Western Sydney, in suburbs whose demographics hardly tell tales of fortresses of white privilege. It seems that, less than a project to dismantle white myths about history, the popularity of these stories is more an attempt to bring non-white Australians into a new myth in the making.

As fifth century BC Athenian historian and general Thucydides said: 'The strong do what they can, and the weak suffer what they must.' 'I'm sitting here trying to eat my weetbix and keep my thoughts calm,' said Enice Marsh, Traditional Owner for the Flinders Ranges area of SA. Enice and the other Adynamathanha Elders had just received the news that former Liberal Senator Grant Chapman's property Bardioota is 'at the top of the list' to be the site of Australia's national radioactive waste dump.

In the face of the increasing environmental destruction legally occurring within Australia's borders, chasing actors Johnny Depp and Amber Heard for bringing their undeclared dogs into Australia in breach of biosecurity laws comes across as a curated media stunt. Like everywhere in the world, Australian environmental law is at a crossroads. On one hand government regulations that permit violence against habitat increase, and on the other, legal challenges against this destruction rise.

Socialite and amateur operatic soprano Marguerite cuts an intriguing and tragic figure, devoted to her craft but oblivious to her lack of talent. Yet the joy she gains from believing she is a great singer doesn't depend on the reality or otherwise of that belief. Is it right or wrong for those who care for her to allow her to continue in her delusion? The question echoes the concept of a life-lie, invoked by Henrik Ibsen to argue that human beings are sometimes better off living in at least partial ignorance of reality.

The show's implicit subversiveness runs deep. It is embodied in the fact that its cast consists of mostly Black and Latino performers portraying White characters, using a vernacular and musical styles popularly associated with these cultural groups. It thus stands as a riposte to the history of black/brownface and whitewashing in popular entertainment. Crucially, in a show about 'founding fathers', it is the story's women who not only provide its emotional core but are also the most fundamentally heroic.

When questioned about diversity in his films recently, Joel Coen replied: 'You don't sit down and say, "I'm going to write a story that involves four black people, three Jews, and a dog".' The answer is disingenuous at best. Filmmakers choose what stories to tell and how; with a few exceptions, the Coens tell stories about white men. Just as Quentin Tarantino ought to continue discussing the role violence and misogyny play in his films, the Coens should engage meaningfully with questions of diversity.

'On his last two visits to Latin America, Pope Francis has focused on past and present relationships between indigenous peoples and their colonisers. This Jubilee Year of Mercy perhaps it could be a blessed moment for Aboriginal Australians and descendants of their colonisers to walk together through the Door of Mercy at the St Francis Xavier Cathedral, calling to mind the sins and endeavours of the past, the achievements and commitments of the present, and the hopes and aspirations of the future.' Fr Frank Brennan SJ, Lenten Talk, Norwood Parish, 3 March 2016

As I marched for Remembrance Day in our small village in France, I wondered, 'How long will these villages keep these ceremonies? When will someone decide these wars are too long ago or too far away?' Two days later, Paris was attacked. The news came like war does: sudden and violent. Then came declarations of a state of emergency and the closing of borders. My eldest daughter was over the border in Switzerland without a passport. War starts in increments, in the small ordinary worries of families.

In the early 1990s, America, Europe and Japan accounted for about 90 per cent of world GDP. Now, they account for less than half. The BRICs and other developing nations have grown steadily (in China's case spectacularly) while Europe has stagnated and America has sputtered at best. Recent developments in the geopolitics of fossil fuels and in finance confirm the perception that the rise of China and the developing world spells the end of US global hegemony. Against this backdrop, the narrative of the West has grown increasingly incoherent.